1. 14-02
The Beggarstaffs, poster for Harper’s Magazine, The viewer brings closure by combining fragments into a symbolic image.
Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

2. 14-02 The Beggarstaffs, poster for Hamlet

3. 14-03
The Beggarstaffs, poster for Don Quixote, Cut paper shapes produce a graphic image whose simplicity and technique were ahead of their time.
The Beggarstaffs, poster for Don Quixote, Cut paper shapes produce a graphic image whose simplicity and technique were ahead of their time.

4. 14-05
Dudley Hardy, theatrical poster for The Gaiety Girl, The actor and play title stand out dramatically against the stark black background.
Dudley Hardy, theatrical poster for The Gaiety Girl, The actor and play title stand out dramatically against the stark black background.
Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

5. Lucien Bernhard, poster for Priester matches, c. 1905
Lucien Bernhard, poster for Priester matches, c Color became the means of projecting a powerful message with minimal information.
Lucien Bernhard, poster for Priester matches, c Color became the means of projecting a powerful message with minimal information.
Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

6. 14-07
Lucian Bernhard, poster for Stiller shoes, Against the brown background, dark letterforms, and black shoe, the inside of the shoe is intense red and the front of the heel is bright orange.
Lucian Bernhard, poster for Stiller shoes, Against the brown background, dark letterforms, and black shoe, the inside of the shoe is intense red and the front of the heel is bright orange.

7. 14-09
Hans Rudi Erdt, poster for Opel automobiles, Pose, expression, and clothing signify the affluent customer for this automobile.
Hans Rudi Erdt, poster for Opel automobiles, Pose, expression, and clothing signify the affluent customer for this automobile.

8. 14-11
Berthold Type Foundry, Block Type, Early twentieth-century German sans-serif typefaces were based on Bernhard’s poster lettering.
Hans Rudi Erdt, poster for Opel automobiles, Pose, expression, and clothing signify the affluent customer for this automobile.

9. 14-20
Lucian Bernhard, poster for a war-loan campaign, A sharp militaristic feeling is amplified by the Gothic inscription, “This is the way to peace--the enemy wills it so! Thus subscribe to the war loan!”
Lucian Bernhard, poster for a war-loan campaign, A sharp militaristic feeling is amplified by the Gothic inscription, “This is the way to peace--the enemy wills it so! Thus subscribe to the war loan!”

10. Hans Rudi Erdt, poster heralding German submarines, c. 1916
Hans Rudi Erdt, poster heralding German submarines, c A powerful structural joining of type and image proclaimed, “U-Boats Out!”
Hans Rudi Erdt, poster heralding German submarines, c A powerful structural joining of type and image proclaimed, “U-Boats Out!”

11. Alfred Leete, c. 1914–1915. The image confronts the spectator with a direct gaze.
Lord Kitchener Wants You depicted the British Secretary of State for War, wearing the cap of a British Field Marshal, stares and points at the viewer calling them to enlist in the British Army against the Central Powers. The image is considered one of the most iconic and enduring images of World War I. A hugely influential image and slogan, it has also inspired imitations in other countries, from the United States to the Soviet Union.
14-25
Alfred Leete, poster for military recruiting, c This printed sheet makes confronts the spectator with a direct gaze.

12. 14-25
J. M. Flagg's 1917 poster was based on the original British Lord Kitchener poster of three years earlier. It was used to recruit soldiers for both World War I and World War II. Flagg used a modified version of his own face for Uncle Sam, and veteran Walter Botts provided the pose.
Alfred Leete, poster for military recruiting, c This printed sheet makes confronts the spectator with a direct gaze.

13. 14-25 Columbia, 1738 Another influence on Uncle Sam image.
Alfred Leete, poster for military recruiting, c This printed sheet makes confronts the spectator with a direct gaze.

14. Saville Lumley, “Daddy, What Did YOU Do During the Great War
Saville Lumley, “Daddy, What Did YOU Do During the Great War?,” poster, 1914
14-26
Saville Lumley, “Daddy, What Did YOU Do During the Great War?,” poster, 1914

15. 14-28
Joseph C. Leyendecker, poster celebrating a successful bond drive, Leyendecker’s painting technique of slablike brush strokes makes this poster distinctive.
Joseph C. Leyendecker, poster celebrating a successful bond drive, Leyendecker’s painting technique of slablike brush strokes makes this poster distinctive.

16. 14-29
J. Paul Verrees, poster promoting victory gardens, Public action--the raising of one’s own food--is tied directly to the defeat of the enemy.
J. Paul Verrees, poster promoting victory gardens, Public action--the raising of one’s own food--is tied directly to the defeat of the enemy.

17. 14-30
Jesse Willcox Smith, poster for the American Red Cross, Public display of graphic symbols showing support for the war effort were encouraged.
Jesse Willcox Smith, poster for the American Red Cross, Public display of graphic symbols showing support for the war effort were encouraged.

18. 14-33
Jesse Willcox Smith, poster for the American Red Cross, Public display of graphic symbols showing support for the war effort were encouraged.
Ludwig Hohlwein, fund-raising poster, A graphic symbol (the red cross) combines with a pictorial symbol (a wounded soldier) in an appeal with emotional power and strong visual impact.

19. 14-34
Ludwig Hohlwein, poster for the Deutsche Lufthansa, A mythological winged being symbolizes the airline, German victory in the Berlin Olympics, and the triumph of the Nazi movement.
Ludwig Hohlwein, poster for the Deutsche Lufthansa, A mythological winged being symbolizes the airline, German victory in the Berlin Olympics, and the triumph of the Nazi movement.

20. 14-35
Ludwig Hohlwein, concert poster, A Teutonic she-warrior looms upward, thanks to a low viewpoint and a light source striking her from below.
Ludwig Hohlwein, concert poster, A Teutonic she-warrior looms upward, thanks to a low viewpoint and a light source striking her from below.
Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

21. 14-36
Ludwig Hohlwein, recruiting poster, early 1940s. In one of Hohlwein’s last Nazi posters, a stern and somber soldier appears above a simple question, “And you?”
Ludwig Hohlwein, recruiting poster, early 1940s. In one of Hohlwein’s last Nazi posters, a stern and somber soldier appears above a simple question, “And you?”

22. 14-38
E. McKnight Kauffer, London Underground poster, Lyrical muted colors capture the idyllic quality of the rural location.
E. McKnight Kauffer, London Underground poster, Lyrical muted colors capture the idyllic quality of the rural location.

23. 14-38
E. McKnight Kauffer, London Underground poster, Lyrical muted colors capture the idyllic quality of the rural location.
E. McKnight Kauffer, London Underground poster, Lyrical muted colors capture the idyllic quality of the rural location.

24. 14-39
E. McKnight Kauffer, poster for the London Underground, The essence of the subject is distilled into dynamic colored planes.
E. McKnight Kauffer, poster for the London Underground, The essence of the subject is distilled into dynamic colored planes.

25. 14-39
E. McKnight Kauffer, poster
E. McKnight Kauffer, poster

26. 14-39 E. McKnight Kauffer, poster Flight England’s first cubist poster

27. 14-46
A. M. Cassandre, poster for Dubonnet, DUBO (doubt): the man eyes his glass uncertainly; DU BON (of some good): the beverage is tasted; and DUBONNET: the product is identified as the glass is refilled.
A. M. Cassandre, poster for Dubonnet, DUBO (doubt): the man eyes his glass uncertainly; DU BON (of some good): the beverage is tasted; and DUBONNET: the product is identified as the glass is refilled.

28. 14-46 A. M. Cassandre, poster for Normandie 1935

29. 14-46
A. M. Cassandre, poster for Lantic

30. 14-46
A. M. Cassandre, poster for Lantic

31. 14-46
A. M. Cassandre, poster

32. 14-52
Austin Cooper, poster for the Southern Railway, undated. Cubist rhetoric operates symbolically for mass communications, with fragments and glimpses of a Paris trip.
Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

33. 14-53
Austin Cooper, poster for the London Underground, Color conveys the comfort of warmer temperatures in the underground railway during winter.
Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

34. 14-54
Austin Cooper, poster for the London Underground, Color conveys the comfort of cooler temperatures in the underground railway during the summers.
Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.

35. 14-57
Abram Games, poster to recruit blood donors, c Placing the soldier inside the diagram of the blood bottle cements the connection between the donor’s blood and the soldier’s survival.
Excerpted from Meggs’ History of Graphic Design, Fourth Edition. Copyright 2005, All rights reserved. Published by John Wiley & Sons, Inc.